A Companion to Classical Receptions by Lorna Hardwick, Christopher Stray

By Lorna Hardwick, Christopher Stray

Reading the large quantity of the way during which the humanities, tradition, and regarded Greece and Rome were transmitted, interpreted, tailored and used, A significant other to Classical Receptions explores the impression of this phenomenon on either historic and later societies. offers a finished creation and review of classical reception - the translation of classical artwork, tradition, and idea in later centuries, and the Read more...

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reading the large quantity of the way within which the humanities, tradition, and considered Greece and Rome were transmitted, interpreted, tailored and used, A significant other to Classical Receptions explores the Read more...

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Cowley imitates the basic sequence of the drinking earth, plants, sea, sun and moon, leading up to the question about the speaker’s own drink, but elaborates throughout and so produces a poem that is three times as long. The next point to note is that Cowley’s poem (unlike his Greek source) is clearly tied to a particular political situation. It is one of a rash of English Anacreontic pieceswritten in the early to mid-seventeenth century by poets including Robert Herrick, Richard Lovelace, Alexander Brome and the Aeschylus editor Thomas Stanley.

He suggests that in the Egyptian literary tradition there is an occidentalism in approaches to Greek and Roman texts that can be compared with the orientalism of western approaches to eastern culture (cf. T. Harrison’s discussion of constructions of Persia). Michael Walton also discusses drama translation, but from the point of view of audiences and staging and the gains and losses that arise from different approaches and criteria. James Robson’s chapter focuses on comedy. Using the concepts and methods of translation studies research, he examines how Aristophanes’ humour has been represented to different readers and audiences.

358, 886–90 for Zeus’ wife Metis and her children). It would thus appear that a simple dichotomy between ‘traditional’ and ‘untraditional’ material does not do justice to the complexities of Hera’s speech. The point is that they did not care: as Glenn Most observes, there is no evidence to speak of that Greek audiences were ever interested in identifying Homer’s sources (Most 2003: 85). Most’s observation poses a problem for the student of reception: even if we accept as likely that Hera’s speech in Iliad 14 depends ultimately on En ma eliš, it is far from clear what exactly follows from this.

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